A funeral home in Mississippi doesn’t sound like the ideal sleeping quarters, but it works just fine for gospel singer/guitar player Sister Rosetta Tharpe (Kecia Lewis), and her new acquaintance and partner-to-be singer/pianist Marie Knight (Rebecca Naomi Jones). Finding lodging is always a problem for blacks in the south, but here they intend to not only get a good night’s sleep among the coffins but do a little rehearsing, as well. It’s the rehearsing that is at the heart of George Brant’s Marie and Rosetta, about two real-life artists who came together for a brief period of time to combine their talents. Their integration of gospel, rhythm, and blues during the mid 20th century made them popular with church goers and with those in the entertainment world.
Very different in their personalities, but both accomplished artists, the play follows the attempt by the more earthy Rosetta to find a common ground between her night-club style and Marie’s more sedate and restrained/spiritual style as reflected by her time singing with a quartet backing up the great Mahalia Jackson.
It’s a special treat to see Kecia Lewis in this role so soon after her dynamic portrayal of Mother Courage” for the Classic Stage Company last season. She is terrific as Tharpe whose bigger-than-life personality and extraordinary talent is brought to vivid life. If Lewis dominates the stage, Jones holds her own with a sensitive portrayal that brings a nice contrast to the give-and-take between the artists. Although Lewis doesn’t play the guitar and Jones doesn’t play the piano, they fake it expertly as Felicia Colins (guitar) and Deah Harriott (piano) do the unseen honors.
Although Brant’s play, under the attentive direction of Neil Pepe, turns on a gimmick and a twist that seems more than a little incredulous if not downright fanciful, it isn’t an issue as it comes late in the 90 minute performance. For the most part, we spend listening to some mighty fine singing amidst some sassy talking.
